The work: --------- Le Nozze di Figaro ossia la folle giornata (KV 492) Dramma giocoso in quattro atti (Burgtheater Vienna, 1-May-1786) (The Marriage of Figaro) by Wolfgang Amadeus Mozart (*27-Jan-1756 Salzburg, +5-Dec-1791 Vienna) Libretto by Lorenzo da Ponte (Emanuele Conegliano) (*10-Mar-1749 Ceneda, +17-Aug-1838 New York) based on the comedy "Le mariage de Figaro" (Paris, 1784) by Beaumarchais (Pierre Augustin Caron) (*24-Jan-1732 Paris, +19-May-1799 Paris) Transcribed from G. Ricordi & C. Editori, Milano 1985 by Michael Bednarek http://mcmbednarek.tripod.com/ Background: ----------- The score I used is much more than a piano excerpt; in fact, I'm convinced that some parts are unplayable: it really is a condensed orchestral score. I transcribed these pieces for the pleasure of seeing W.A. Mozart at work and, my own practical instrumental skills being limited, making the sounds come to live. I'm grateful to the author of "Mozart", a notation program like no other in its very pleasing method of using the computer keyboard economically to enter a musical score. The piece: ---------- Terzetto - No.7: "Cosa sento! tosto andate" (Soprano, Tenore e Basso) Atto I, Seguito della Scena VII. Cherubino just sang a canzonetta to Susanna and had to hide when the Count arrived, who then tried to make a pass at Susanna. In turn, the Count had to hide when Basilio entered. However, when Basilio remarks that everybody talks about Cherubino's longing for the Countess and Susanna, the Count can no longer stay hidden and thunderously demands that Cherubino be sent away. While the Count relates how he found Cherubino in Barbarina's room, he uncovers the hiding Cherubino again. As with most pieces I did for "Nozze", the orchestra is represented by MIDI instrument 49 "String Ensemble 1"; Susanna is 69 "Oboe", Basilio 72 "Clarinet", and the Conte is 48 "Trombone". Spatial orientation has the high strings left, low strings right, Susanna on the far left, Basilio on the far right, and the Conte just left off-centre. Details: -------- The rapid plot changes are accompanied by a wealth of musical themes and phrases. The initial theme of the Count's ire in bars 5ff appears again later, and all three characters have numerous phrases to illustrate their changing emotions. Like many other numbers in this opera, this is definitely not one where just some beautiful melodies are delivered, but it is driven by action, discoveries, and changing emotions. I am grateful for notification of any mistakes I may have made, or just for a brief email from anyone who used this file.